By the way, the BGO Import CD of this album is excellent. No match for a Hot Stamper of course, but dramatically better than the average classic rock CD, and quite a bit better than the domestic CDs we’ve auditioned.
The Audio Fidelity Gold CD mastered by Steve Hoffman is even better. If you don’t want to buy a Hot Stamper LP, that CD is your best bet (assuming it sounds as good as mine, something one cannot assume but that’s a story for another day).
A STUNNING copy of Frampton’s Camel with Shootout Winning Triple Plus (A+++) sound or close to it from start to finish
On his second album, Frampton fronts a real rock band, playing his unique style of rock and pop, electric and acoustic, with consummate skill – if you’re a Frampton fan this is a record that belongs in your collection
Superb engineering from Chris Kimsey and Eddie Kramer at Olympic and Electric Lady Studios
4 1/2 stars: “Named after Frampton’s touring band at the time, Frampton’s Camel has a harder-rocking feel than its predecessor Wind of Change, with Mick Gallagher’s percussive electric piano and organ taking a prominent position in the mix and Frampton getting a harder sound from his electric guitars (though his acoustic playing is so lush and lyrical that it dominates the album here and there in its quiet way).”
This outstanding pressing boasts solid Double Plus (A++) sound or close to it on both sides
It’s got weight, punch, energy and fullness – qualities key to the best sounding pressings
Tons of great songs – Miss You, Beast of Burden and Shattered, all sounding shockingly good – thanks to the engineering skills of Chris Kimsey
5 stars: “Opening with the disco-blues thump of “Miss You,” Some Girls is a tough, focused, and exciting record, full of more hooks and energy than any Stones record since Exile on Main St. Even Their rockers sound harder and nastier than they have in years.”
This is the Stones’ last truly great album. All Music Guide gives it the same 5 star rating that they awarded Beggars Banquet, Let It Bleed, and Sticky Fingers. With hits like Miss You, Shattered, and Beast Of Burden, it’s easy to see why.
Most copies are too thin and grainy for serious audiophile listening, but this one is a different story. It’s not easy to find great sound for The Stones, so take this one home for a spin if you want to hear this band bring these songs to life in your very own listening room.
Not many copies have this kind of clarity and transparency, or this kind of big, well-defined bottom end. The sound of the hi-hat is natural and clear on this pressing, as are the vocals, which means that the tonality in the midrange is correct, and what could be more important than a good midrange? It’s where the music is.(more…)
With two Shootout Winning Triple Plus (A+++) sides, we would be very surprised if you’ve ever heard Steel Wheels sound remotely as good as it does on this pressing
We guarantee there is dramatically more space, richness, vocal presence, and performance energy on this copy than others you’ve heard
4 1/2 stars in Rolling Stone: “All the ambivalence, recriminations, attempted rapprochement and psychological one-upmanship evident on Steel Wheels testify that the Stones are right in the element that has historically spawned their best music – a murky, dangerously charged environment in which nothing is merely what it seems. Against all odds, and at this late date, the Stones have once again generated an album that will have the world dancing to deeply troubling, unresolved emotions.”
Outstanding sound throughout with each side earning solid Double Plus (A++) grades – exceptionally quiet vinyl too
Huge, Tubey Magical and lively, with solid weight down low and lots of space around all the instruments, this copy is guaranteed to rock like nothing you have ever heard
Since I’ve Been Loving You, Gallows Pole, Tangerine and That’s the Way are just a few of the tracks that have truly Demo Disc sound
“On their first two albums, Led Zeppelin unleashed a relentless barrage of heavy blues and rockabilly riffs, but Led Zeppelin III provided the band with the necessary room to grow musically. While there are still a handful of metallic rockers, III is built on a folky, acoustic foundation that gives the music extra depth.”
Drop the needle on Since I’ve Been Loving You and turn it up good and loud. Robert Plant will be right there between your speakers, and your jaw will be on the floor!
Cue up Tangerine on side two for a taste of rich, sweet, Tubey Magical Analog Sound. The acoustic guitars are lush and delicate, the bass is deep and well-defined, and the vocals are completely natural and free from bad mastering or phony EQ.(more…)
This amazing copy of the Stones’ 1980 release boasts Shootout Winning Triple Plus (A+++) sound throughout
Dance (Pt. 1) and She’s So Cold sound out of this world on this copy, and the title track, Emotional Rescue, is every bit as good
An underrated Stones album — too good to call a guilty pleasure — and very well-recorded by Chris Kimsey
Maybe it’s good because “Mick Jagger sounds like he’s having a great time…”
This amazing pressing delivers the kind of killer sound you surely did not expect from this underrated Stones album.
We had a great time shooting this one out — we had forgotten how good the music was and were pleasantly surprised by how good the best copies can sound. It’s tough to get great Stones sound, I’m sure most of you know that, but there’s lots of it here and a bunch of good songs. She’s So Cold, Summer Romance, Dance, the title track… not a bad line-up, and probably the last great album these guys put out.
As you might expect, we heard lots of dry, grainy, thinned-out sound on the copies that didn’t make the cut. When you get a Hot copy with a punchy bottom end and some richness, it’s an entirely different story. It lest a song like the leadoff track Dance come to life, giving you bigger, livelier, fuller sound than you ever expected to hear on this record.(more…)
All four sides of this double album earned Shootout Winning Triple Plus (A+++) grades or close to it for their Big, Bold Live Rock sound – exceptionally quiet vinyl too
Mixed and mastered so that the guitar solos soar the way they do in live music — what a thrill it is to hear them finally sounding the way they should
A killer copy like this one is a potent reminder of why we all went so crazy for this album back in the ’70s – I did anyway
Allmusic agrees with us that many tracks here are “much more inspired, confident, and hard-hitting than the studio versions.”
On the better copies, the guitar solos are the loudest parts of some of the songs, which, as everyone who’s ever been to a rock concert knows, is exactly what happens in live rock music. Fancy that!
Not many live albums are mixed to allow the guitar solos to rock the way these do. Since Frampton is one of my favorite players, hearing his work get loud on this album is nothing less than a thrill. It’s hard to turn up the volume on most copies — they tend to get aggressive in a hurry — but that simply doesn’t happen on our hottest Hot Stampers. They sound right when they’re loud.(more…)
A while back we discussed the kind of sound that Glyn Johns managed to get for the likes of Humble Pie and The Who: “But oh what a glorious sound it is when it’s working. There’s not a trace of anything phony up top, down low or anywhere in-between. This means it has a quality sorely at odds with the vast majority of audiophile pressings, new and old, as well as practically anything recorded in the last twenty years, and it is simply this: The louder you play it the better it gets.“
This is without a doubt a big speaker record, one that requires the highest-resolution, lowest-distortion components to bring out its best qualities. If you have a system like that you should find much to like here.
I bought my first copy in 1972 when I was still in high school and it quickly became one of my favorite records. All these years later it still is. It’s records like this that shaped my audio purchases and pursuits. It takes a monster system to even begin to play this record right and that’s the kind of stereo I’ve always been drawn to. A stereo that can’t play this record, or The Beatles, or Ambrosia, or Yes, or the hundreds of other amazing recordings we put up on the site every year, is not one I would be very likely to own.(more…)
Engineered by Chris Kimsey, if you know his work from Some Girls, Tattoo You, Frampton Comes Alive and the like, then you should have a good idea of what this album sounds like on the better copies such as this one. (more…)
This is the album that almost single handedly destroyed Peter Frampton’s career. To capitalize on the success of his amazing live album, this one was rushed into production with a lot of weak material. But there is a good reason to buy it. The song I’m In You has one of those perfect Frampton guitar breaks which is almost worth the price of the album. About half of this record is actually pretty good. This one won’t make you a fan, but if you are a fan you need this title in your collection, and this is about as nice a copy as can be found.
Two Frampton albums are absolute Must Owns. Wind Of Change is a masterpiece — the greatest rock guitar album in the history of the world. And Where I Should Be is the last record Frampton made that was any good. I’ve listened to it countless times and never tire of it.